Amidst all this chaos, the concert had already begun and the musician looked graceful attired in a subtle green and black saree and minimal accessories. I have always been used to seeing her shimmer on stage and this was different! And now to the music... she was half way into kalyani ata thala varnam by the time my brains settled down and quietened to absorb the music. I felt the left (thoppi) of the mridangam was on a high decibel level. Sai Giridhar the mridangist agreed with Sudha when she gestured and brought it down. An old-time favourite of mine, ‘Chalamelara’ began and there was a rustle of acknowledgement from the audience too. A simple straightforward kriti of Saint Thyagaraja! Then came the Malayamarutham raga alapana and there was an almost clap of a moment when she came down the avarohana from the higher octave, like a staccato movement. I thought maybe she would sing ‘Manasa etulo’. But then, it was Papanasam Sivan’s ‘Karpagamanohara’ dedicated to Kapaleesha. Loved the 'porutham' in the swaras. Embar did a round of swaras that reminded me of his exemplary strokes in the movie 'Dumdumdum' which I must have listened to at least a 100 times.
‘Sarasamukhi’ in ‘Gowdamalhar’ was so refreshing, especially with Sudha Ragunathan’s improvisations in the chittaswarams. Post that came ‘Shanmukapriya’ (‘chamaram’ as Muthuswami Dikshitar chose to call it) in all grandeur! Madras bhaashai le sollanumna pinni pedal eduthuttaa
. As Embar Kannan matched her in quality and quantity, we heard some really good Diwali crackers and then the power completely switched off! The auditorium was plunged in darkness for a few minutes. Kannan however continued to play and completed the raga.It was a beautiful moment to watch the musicians continuing to do what they excel in, unperturbed.And now, the real cutcheri began. With minimal light, no electronic thambura sound, minimal amplification, and no monitor feedback, Sudha seemed to have actually enjoyed the ambience and sang to her heart’s content. Kannan’s iphone thambura came to the rescue as it looked like her manual thambura was not in alignment. What a concert! It simply endorses that music too wants a natural environment at times minus the gadgets!! The audience seemed mesmerised and listened and watched in pin drop silence. ‘Sadhashraye’ flowed into our hearts, not ears. Neraval and swaras at ‘Chidaasraye’ and a vibrant thani by Sai Giridhar and Raman followed.
‘Malai varum vaelai’ in ragamalikai was like a gentle breeze that came floating to us, carrying Muruga in all His glory. My mind wafted to the time I heard MLV sing it and it was a good move of Sudha’s to bring it to life here.‘Gopalathnam bhuvanaikarathnam’ in sloka in yaman followed by ‘Harismarane maado’, a daasara padha filled our hearts to the brim with divinity. There is something very special indeed about the way Sudha renders a dasa. An Azhwar pasuram and Kurai onrumillai, always an audience choice, came as finale before mangalam and the audience stood up in unison and gave a standing ovation. Well worth the trials and tribulations of the parking menace! This musician truly knows the pulse of the audience!
..Arasiji am glad you are seeing this review the way I meant it to be - just a reflection of my enjoyment after all the travails of getting across, and in complete curiosity of what could be in store. Happy at not being disappointed, experienced the beauty of no amplification for a while and some spellbinding music by Sudha and her accompanists. Carnatic music reaching and touching the hearts of the not so musically erudite only reflects the beauty of the music and the calibre of the musician in making it an enjoyable experience across all segments. I certainly am not as learned as you all and enjoy this in my own space. Happy to read all your comments!
